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Piero Lulli

Blu-ray: Mario Bava’s ‘Kill, Baby… Kill!’

The title may sound like a serial killer thriller but Mario Bava’s Kill, Baby… Kill (Italy, 1966) is a Gothic ghost story with haunting images, grotesque edges, and glorious style. Think of it as Bava’s answer to a Hammer horror, with hysterical superstition and suspicion of outsiders replacing the lurid sexuality of Hammer’s Victorian horrors and Bava’s rich palette setting an altogether more expressionist atmosphere.

Kino Classics

Shooting exteriors on location in rural mountain villages of picture-postcard medieval stone dwellings and labyrinthine streets, Bava creates a fairy tale world of an oppressively provincial 19th century village in the grip of a curse. At least that’s the explanation of the townspeople who dismiss the scientific investigation of Dr. Paul Eswai (Giacomo Rossi Stuart), a coroner from the city called into determine if Irena (Mirella Pamphili), a young woman whose death by impaling opens the film, was murdered or committed suicide. The villagers know—she is the latest victim of a curse upon the village—and do everything they can to drive the coroner and Inspector Kruger (Piero Lulli), the city investigator, from their insular little village. With the help of Monica (Erika Blanc), who was born in the village but sent away to school and has recently returned, Paul is determined to find the true cause of the inexplicable deaths plaguing the village.

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Review: My Name Is Nobody

[Originally published in Movietone News 36, October 1974]

Most people have been writing about My Name Is Nobody as though it were as unequivocally a Sergio Leone film as Once upon a Time in the West, Duck You Sucker, et al.; some reviewers haven’t troubled to mention the existence of Tonino Valerii (who is emphatically given directorial credit twice in the opening titles) while more scrupulous commentators have nodded toward Valerii while acclaiming My Name Is Nobody as “the most producer-directed movie since The Thing.” There’s no mistaking the Leone manner, the Leone themes, and the frequent instances of Leone power and feeling; the protégé has learned the master’s lessons well, and one feels certain he was largely executing Leone’s own detailed plan of the film. I’m sorry I muffed my chance to see Valerii’s own A Reason to Live, a Reason to Die a month or so ago (I loathe drive-ins) because I might have been better prepared to wade in and sort out the fine points of auteurship in the mise-en-scène. There are lapses in the film that mightn’t have occurred—or might have been more decisively compensated for—if Leone’s hand had been at the throttle. But there are also shots, sequences, and literally timeless moments in the movie that do no disservice to the memory of previous Leones—which is to say that My Name Is Nobody contains some of the most extravagantly exciting footage that’s going to appear on movie screens this year.

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